In the realms of Hindustani Classical Music there are several accounts of how the Gurus and Ustads have taught pupils and even founded Gharanas. But one name stands out not merely by the dexterity of his distinguished disciples but by the sheer width of musicality. A person who taught Pandit Ravi Shankar- Sitar, Ustad Ali Akbar Khan – Sarod, Nikhil Banerjee – Sitar, Pandit V.G Jog – Violin, National Artist Sharan Rani – Violin, Pandit Panna Lal Ghosh – Flute; the list goes on. These renowned classical music exponents, have not only done India proud in India and abroad but sustained the almost dying art of Hindustani classical music. Through their musical genius, India is acknowledged to have one of the most advanced form of music in the world. Professionals the world over give this form of classical music highest regards. Surprisingly, the form has not only revived interest in classical music worldwide but has become popular even amongst the younger generation.
The person who can be said to be one of the most prominent teachers actually was a Bengali from humble background. It is said, when he wanted to learn Hindustani classical music from the then leading Ustads, who were primarily from North India, he was mocked. They looked at the diminutive dark man and said, Hindustani classical music requires, apart from musical abilities, great physical strength. This strength comes from partaking Ghee and Badam, a Rice and Fish eating Bengali would not be able to lean & practice Hindustani classical music, let alone be good at it. This infuriated this humble but self-respecting man. He took a vow. He expostulated that any musical instrument was representative of Devi Saraswati so he obviously could not play it with his foot but he would master these instruments and though being right handed he would do it with his left hand. Such was the determination of the man that he not only excelled at most he laid his hands on, he went on to teach the very cream of Hindustani Classical music.
Well this gentleman is none other than Ustad Allaudin Khan. A master of masters. When a person almost takes a lifetime to master any Classical Hindustani Instrument he not only became the foremost exponent of several he taught pupils who became masters in their own domain. Khan was born in a Bengali Muslim family in Shibpur village in Brahmanbaria (in present-day Bangladesh). His father, Sabdar Hossain Khan, was a musician. Khan took his first music lessons from his elder brother, Fakir Aftabuddin Khan. At age ten, Khan ran away from home to join a Jatra party where he was exposed to a variety of folk genres: Jari, Sari, Baul, Bhatiyali, Kirtan, and Panchali. He went to Kolkata, and became a disciple of Gopal Krishna Bhattacharya (also known as Nulo Gopal). Khan practiced sargam for twelve years under his guidance.
After the death of Nulo Gopal, Khan turned to instrumental music. He learned to play many indigenous and foreign musical instruments like sitar, flute, piccolo, mandolin, banjo, etc., from Amritalal Dutt, a cousin of Swami Vivekananda. He learnt to play sanai, naquara, tiquara and jagajhampa from Hazari Ustad and pakhawaj, mridang and tabla from Nandababu. Allauddin also learnt Veena from Wazir Khan. He became the court musician of Maharaja of Maihar. Here he laid the foundation of a modern Maihar Gharana and developed a number of ragas. Ustad Allaudin Khan was awarded the Padma Bhushan in 1958 and the Padma Vibhushan in 1971. He taught several outstanding musicians who went on to become legends themselves. His own son Ustad Ali Akbar Khan and daughter were foremost Hindustani classical musicians. As a Guru, he was a tough task master and did not brook any nonsense from his disciples.
Interestingly, his own daughter, popularly known as Annapurna Devi, was an exceptional Surbahar Player. Though named Roshanara Khan, she was given the name ‘Annapurna’ by Maharaja Brijnath Singh of the former Maihar state and was called by this name even at home. Well, these were people who put god above all and truly believed that all were equal before god. Some say, Annapurna Devi chose to sacrifice her own career and refused to do public performances when she was increasingly compared to Pandit Ravi Shanker, then her husband. Her student Vinay Bharat Ram had once reported that she was uncomfortable accepting payment for concerts, as it was her belief that it was akin to selling the Goddess Saraswati. Though an extremely private person she was active as a teacher. She taught likes of Nikhil Banerjee, Hariprasad Chaurasia, Nityanand Haldipur, Sudhir Phadke and Sandhya Phadke. She was the only known female maestro of the Surbahar in the 20th century.
The Maihar Gharana is one of the foremost in the country today. Such was the sheer will power and doggedness of Ustad Allaudin Khan that he ensured that not only the Gharana’s lineage was worthy but had a diversity seldom seen. Today, India needs such proponents, who rise above the petty infighting on religion & caste lines and who continue to actually practice the principles that this great nation actually stands for. (….By Sidhartha Mukherjee)
